Astrology and music are both passions of mine that I’ve followed for many years. Music has helped me connect with myself, and astrology with the universe. After attending the North Star conference hosted by a variety of PDX Magicians and Astrologers, I felt inspired to begin composing in a way that connected me to the stars, and as such I have started writing music based on astrology. The first piece I’ve composed is focused on Mars in Libra. I’ve taken a fairly long hiatus from composing music since studying music for my degree, so it only felt right to use this newly found inspiration to create something amazing. Let’s get into it.
What does Mars in Libra mean?
Mars, the god of war, one of the two malefic planets in our sky, focused on providing us energy and drive to push ourselves while also disrupting power and adding a little chaos to the mix. It is connected to the fiery cardinal sign of Aries, hot-headed and feisty, as well as the passionate, seductive Scorpio in traditional astrology. The contrast to Aries is Libra, its sister sign. Libra, ruled by Venus, provider of beauty and perception. A sign skilled in cooling off hectic situations and offering a quiet ear for listening. So, why is it important to discuss these individual energies when we are talking about the Mars in Libra transit?
Mars is in domicile when in Aries, and as such, is in detriment in Libra. The calm, cooling nature of Libra does not bode well for the passionate, driven Mars. There is an uneasiness to this transit, and an unrest in the energy. Mars encourages us to push forward, yet Libra encourages us to slow down. This push and pull type of tension proved useful for creating an interesting musical piece.
The Sound of Mars in Libra
“Mars in Libra” – Stella Tice, 2025
Initially when I started writing this piece, I wanted the first sounds to be open and light. I decided on using Eb major as the main key and using different chords which all live within that mode. The use of suspension and minor 11 chords creates an open feeling, and all the 4ths and 5ths offer a breadth of sound which isn’t found in other chord intervals. While not as open and clear as 4ths and 5ths, 9ths and 13ths still provide an ethereal tonal quality which matches well within suspension chords.
Each chord in this section moves from an open to closed sound quality. The Fsus13 includes many upper extensions of the Eb major key which are outside of standard chord tones (e.g., 3rds, 5ths, and 7ths). The same occurs with the Gmin11. We then move to the Ebmaj7 with all the standard chord tones of Eb major and provides a more resolved, closed sound. Moving in this direction (open → closed) allows our ears to wholly experience Eb major while providing resolution at the end. The bass movement also provides a similar resolution by moving up a whole step between the first two chords, then a larger leap of a third to land on the Ebmaj7.
Throughout the A section, the use of suspension chords and minor 11 chords evoke the sensation of Libra. The open, free-flowing quality of the chord movements are similar to the way Libra flows as an air sign. Staying close within the key maintains connection through the beginning of the piece and the clean shift into the Ebmaj7 fill our ears with resolution, similarly to how Libras approach conflict and resolution.
The main theme of the A section repeats three times, and finishes out on a Dmin11 chord as shown here:
The Dmin11 chord brings a similar sound quality as the Fsus13 and the Gmin11 in the beginning. Similarly to the previous chords, the Dmin11 chord tones are also mostly extensions of the original Eb major key, while still providing similar notes to the Fsus13 to ease the listener back to the beginning after the repeat.
We move to F minor with the B section. It is a lateral move compared to Eb major which provides some interest for the listener, but not too much to feel jarring or surprising. After settling into F minor for one measure, we begin shifting towards the Dbmaj#11. The B sections starts in F Dorian, a mode closely connected to Eb major and maintains similarities to the A section; however, the transition to Dbmaj#11 immediately throws us into F Aeolian.
This change in mode pushes us towards a darker, more minor quality and further away from Eb major. It strikes a difference between the A and B sections and separates the two from each other. It is through this mode shift that we evoke the uneasiness of Mars in Libra. Our subverted expectations lead us to a surprising progression throughout the rest of the B section. The brief moment of tension reminds us that despite this transit being focused on Libra, Mars is still the main planetary body providing us movement.
We sit in the Dbmaj#11 chord to allow our ears to adjust, becoming familiar with this new sound. There is a moment of respite as we push towards the Abmaj9 chord. The use of Cmin11 → Dbmaj7#11 → Eb7 → Abmaj9 creates an illusion of being in Ab major. This short moment of feelings like we are in a major key brings the listener back to the sensations of the A section, reminding us of Libra once more. The B section initially transitions into F Aeolian and our expectations are quickly changed once again when moving towards Ab major, and it continues to shift further away as we continue through this section.
While sitting in the Ab major sound, there is a moment of calm and resolution. This is broken by the upward movement towards the Bbmin7 which adds momentum and tension with the rise in tonality. The Bbmin7 also remains in the F Aeolian mode and keeps us locked into the minor sound of the B section.
The Bbmin7 sound moves us to a quick turnaround back to the Fmin11. The use of the Gmin7b5 and C7#5 both include alterations to each chord which maintains the F Aeolian sound as we push back to the same starting chord for the B section.
The return of the Fmin11 chord and the same shift to the Dbmaj#11 reminds us of where we started in the beginning of the B section. We are already familiar with the building tension in the Dbmaj#11 which we saw earlier at the start of this section, but then the step-wise motion up to the D7#9 only further increases this tension.
It continues to build as we move upward once again to the E7alt. We are forced to sit with this tension for two full measures, only to then jump up by a third to the Gmin7b5. The jump is unexpected due to the repeated step-wise motion in the previous three chords. All of this is then finally released through the turnaround back to Fsus13 which brings us back to the final A section of the piece.
The final section of the piece is a return of the main theme in the A section, with a similar move to Dmin11 in the first ending, and ending on a Db7 → Cmin11 resolution to end the piece.
Connecting to Mars in Libra
So, we’ve gone through a full analysis of my Mars in Libra composition. How does it all connect to this transit?
As we discussed earlier, Mars in Libra is not a very pleasant transit. The conflicting energies between Mars and Libra lead to tension and unsettled anxiety. There is a pleasantness to Libra which is found through many of the chord choices I used in the A section and parts of the B section, and then the energetic push and drive of Mars can be found in the intentional bass movements and dense chords of the B section.
All About Libra
Libra’s ethereal, pleasant qualities are wonderfully matched by the tonality of suspension chords and minor 11 chords. Including upper extensions in minor chords softens the change in tonal quality when in conjunction with major chords, similarly with how a Venus conjunction with Saturn can soften the aspects to Saturn in a natal chart. Libra can soften the blow of many situations and tense moments, adding connection to how the suspension and minor 11 chords offer resolve against the denser chords throughout the piece.
There is an unsettled energy to Libra due to being an air sign. I jokingly asked my partner to describe what type of air Libra would be, and he replied saying, “Libra is like a lingering scent.” This perfectly describes Libra in my mind in how the scent of a candle can linger and bring someone joy, or it could also be the left out food that twinges your nose upon entering the room. Regardless of the type of scent we use to describe them, Libras leave an impact on all of us.
Mars and Libra Together
The dense chords shine as an analogy for the way Mars’ energy combines with that of Libra. In combination with the unsettled, anxious, air energy, Mars pushes Libra further by acting as the motor to the fan, or the twisted cable on the hanging mobile in a child’s room. As the tension builds in the cable above the child’s bed, it can only tighten so much until it must release and spin away. This is shown in the movement at the end of the B section as we go from Dbmaj#11 → D7#9 → E7alt and the continuously rising tension until it releases in the turnaround back to Fsus13.
This return to theme and form in the final section of my composition represents the relieving sigh of letting this anxiety go. Mars in Libra can be tense and cause struggle, but there is also strength in having the energy to push and pull with air signs. This placement and transit provides us drive, movement, and energy towards Libra themes in life, especially those in our career and passions. Taking advantage of Mars’ energy can lead us to success, particularly when things are difficult and we could use the refreshing perspective of Libra.